Thames & Hudson, Brassaï: The Secret Paris of the 30's, n.p. Hambourg and Phillips, The New Vision: Photography Between the World Wars, Ford Motor Company Collection at The Metropolitan Museum of Art, p. 101
圖錄文章
The selection of photographs appearing here as lots 87 through 97 all come originally from the collection of New York gallerist Robert Schoelkopf (1927-1991). Schoelkopf began his career as a dealer in 1957 and became known for handling the work of Hudson River School painters as well as that of early 20th century American artists. In the mid-1960s he began incorporating photography into his Madison Avenue gallery’s exhibition program, and thus became a pioneer in creating the market for fine art photographs. He first showed Walker Evans’s work in 1966 and gave the photographer several exhibitions in the coming years, including one that dovetailed with the retrospective of Evans’s work at The Museum of Modern Art in 1971. In 1969, Schoelkopf handled the sale of duplicate prints from MoMA’s collection of Eugène Atget photographs. He was the first New York dealer to handle the work of Henri Cartier-Bresson. In a 1971 review of an exhibition of Brassaï’s work, Artforum praised the gallery for “continuing its attentiveness to photography” – a rarity for a New York gallery at the time. Schoelkopf’s gallery records are now in the collection of the Smithsonian’s Archives of American Art and include extensive correspondence with Walker Evans and Brassai.
